The difference between the earlier America that knew its military and the modern America that gazes admiringly at its heroes shows up sharply in changes in popular and media culture. While World War II was under way, its best-known chroniclers were the Scripps Howard reporter Ernie Pyle, who described the daily braveries and travails of the troops (until he was killed near the war’s end by Japanese machine-gun fire on the island of Iejima), and the Stars and Stripes cartoonist Bill Mauldin, who mocked the obtuseness of generals and their distance from the foxhole realities faced by his wisecracking GI characters, Willie and Joe.
From Mister Roberts to South Pacific to Catch-22, from The Caine Mutiny to The Naked and the Dead to From Here to Eternity, American popular and high culture treated our last mass-mobilization war as an effort deserving deep respect and pride, but not above criticism and lampooning. The collective achievement of the military was heroic, but its members and leaders were still real people, with all the foibles of real life. A decade after that war ended, the most popular military-themed TV program was The Phil Silvers Show, about a con man in uniform named Sgt. Bilko. As Bilko, Phil Silvers was that stock American sitcom figure, the lovable blowhard—a role familiar from the time of Jackie Gleason in The Honeymooners to Homer Simpson in The Simpsons today. Gomer Pyle, USMC; Hogan’s Heroes; McHale’s Navy; and even the anachronistic frontier show F Troop were sitcoms whose settings were U.S. military units and whose villains—and schemers, and stooges, and occasional idealists—were people in uniform. American culture was sufficiently at ease with the military to make fun of it, a stance now hard to imagine outside the military itself.
This is from James Fallows latest piece in The Atlantic: The Tragedy of the American Military. It is well worth reading the article in its entirety.